VERA; OR, THE NIHILISTS

Jack Studio Theatre

★★★

“The cast does an admirable job of interpreting this unfamiliar work”

You’re probably unfamiliar with Oscar Wilde’s first play, ‘Vera; Or, The Nihilists’. Rarely performed after its 1883 premiere flopped catastrophically, I’m eager to see its first-ever London staging. This politically charged piece has revolutionary ambitions, tackling female empowerment, ideological corruption and the war on tyranny (how timely!). However, it fails to rally the troops, lacking Wilde’s signature sparkle and venturing into curious artistic terrain.

Vera Sabouroff, a young Russian peasant, is riled to revolution after a chance encounter with her brother, Dmitri, reveals he isn’t in Moscow studying law, but a Nihilist radical brutalised by the Czar’s tyrannical regime. Vera vows to avenge him, leaving with her father’s manservant, Michael, in tow. Fast forward five years and Vera is the Nihilists’ top lethal operative, tasked with assassinating the Czar. But when forbidden love sparks between Vera and her elusive comrade Alexis, duty and desire collide. Will the people win? Or will Vera betray her beliefs?

Cecilia Thoden van Velzen’s adaptation trims some of Wilde’s verbosity, allowing the epigrammatic wit he later became famous for to shine. A serious piece, there are still genuinely funny moments, such as a quip comparing diplomacy to salad making, and the Czar breaking the fourth wall to ‘smile’ at his people. Thoden van Velzen makes a smart call in introducing some commentary, with a disembodied narrator book-ending each act and reciting an epilogue which elucidates the play’s significance. Though the effect is a little spoiled by featuring said epilogue in the programme.

Another element I find curious is the decision to rewrite Wilde’s original ending. Instead of Vera being forced to choose between ideology and love, that decision is unceremoniously made by Michael, who has confessed he used to love her in the scene before. It completely changes the dynamic, erasing Vera’s willingness to die for her beliefs and suggesting a Chekhovian love triangle. Rather than letting Vera seize her progressive female agency, it’s ended by a (jealous?) man. As the first ever London staging, I question whether it’s necessary to tamper to such a degree.

Thoden van Velzen’s direction has moments of brilliance, such as loaded glances, shameless shrugs, and fourth wall breaks opening a window into the Czar’s troubled mind. However, the blocking needs work, Vera standing in profile or with her back to the audience a few too many times, and the cast getting a little lost amid the towering set pieces.

Thoden van Velzen’s sound design is spot on, with subtle effects and musical interludes perfectly complimenting the minimalist feel. The melancholy entry music, expertly timed window shot, and insistent clock chiming are all particularly effective.

Ruth Varela’s all-paper set and props build a world that feels authored and impermanent, doubling as a metaphor for power’s thin façade. However, the clumsy, clattering set changes, completed by the cast under full stage lights, breaks the believability and adds little when some structures move a mere few centimetres.

Anastasiia Glazova’s costumes evoke the period with a subtly modern flavour. Keeping Alexis in the same outfit emphasises his resolve and difference from his father.

The cast does an admirable job of interpreting this unfamiliar work. Jonathan Hansler is fantastic as both Czar and Vera’s father, revealing surprising depth and range. His initially Thénardier-esque Peter Sabouroff completely breaks when he recognises Dmitri; his Czar is terrifyingly unstable, volatile outbursts contrasting with icy coolness. George Airey’s Alexis brims with aristocratic ardour, at times petulant, others impassioned. Finn Samuels’ Michael completely transforms from tender youth to ruthless tactician, conveying much with just a look. Natasha Culzac does a decent job of Vera, though plays it a little safe, remaining more ingénue than insurgent.

You might not go wild for this production of ‘Vera; Or, The Nihilists’ but its messy history, magnetic performances and historic milestone make for a memorable experience.

Tag Archives: Ruth Varela

VERA; OR, THE NIHILISTS

★★★

Jack Studio Theatre

VERA; OR, THE NIHILISTS

Jack Studio Theatre

★★★

“The cast does an admirable job of interpreting this unfamiliar work”